As soon as you enter the Ketelhuis of Amsterdam's Westergasfabriek, a dark droning tone takes you into the misty, somewhat ominous atmosphere of 'Until the Lions' by Akram Khan Company. A huge disc from a tree trunk, with jagged annual rings and cracks, will become the scene of a mythical battle. At stake is the human body: weak, strong, male, female. Boundaries will perish.
This year's Holland Festival spotlights Rotterdam-based theatre collective Wunderbaum with the revival of 'The Coming of Xia', premieres of 'Privacy' and 'The Future of Sex' and the film 'Stop acting now'. With this film, Wunderbaum concludes their four-year project 'The New Forest', a 'Platform for social change', according to Wunderbaum, "The New Forest depicts transition and casts a...
The smallest details speak for themselves. For the second time during this edition of the Holland Festival, the legendary BBC series This Life comes along. Richard Cant, who plays a flawless lead role in Neil Bartlett's play Stella, has previously appeared in This Life, the series that set the standard for the modern docusoap in 1996. So now live, up close, in De Brakke Grond's Red Hall, the man who also played a solid role in Midsomer Murders.
It is good that the Holland Festival dares to stick its neck out, by making Olga Neuwirth (1968), unknown here, its focus composer this year. On reflection, by the way, I would have preferred to hear her high-profile opera Bählamms Fest in a staged version once, rather than Le Encantadas. This piece composed last year did not quite manage to live up to the high expectations...
Woody Allen made sure in 1972 that his fans could not watch Star Wars with dry eyes years later. The final scene of his film 'Everything You Always Wanted To Know About Sex, But Were Afraid To Ask' shows us the male brain as the bridge of a Star Cruiser where the crew is hard at work to bring a date to a successful conclusion. The spermatozoa in the front are a squabbling gang of take-off runners, heading for an uncertain descent towards beating egg.
This way from row nine, it is like being knee-deep in carnations yourself. The heads of the audience in front of me merge silently into a forest of stems crowned with pink, through which dancers carefully step back and forth like leggy chickens.
The find is great: Nelken by Pina Bausch depicts paradise as a place where you have to be careful or things will go wrong. The carnations force the dancers to be careful. As a spectator, you go along with them, without all the underlying thoughts immediately coming through to you.
There I am. Next to Holland Festival director Ruth Mackenzie, on a grave, as part of the installation Gardens Speak on the stage of the main hall of Theatre Bellevue in Amsterdam. There is nothing to see, little to hear. Tone lights suggest a rising sun after a few minutes. I get up together with the ten other visitors. Quite a shame, because I was actually quite comfortable lying there.
The programme booklet sounded promising:
Full of religious inspiration, Joseph Haydn (1732-1809) wrote the oratorio Die Schöpfung, his famous musical ode to the Biblical creation story. Berlin-based artist Julian Rosefeldt (b 1965) reflects on Haydn's masterpiece with an aesthetic film that shows how humans bend the world to their will. During the Holland Festival this film was screened at a live performance of the music by Collegium Vocale Gent and baroque orchestra B'Rock led by conductor René Jacobs. Got Die Schöpfung an extra charge through this film, which largely consists of people in white suits walking around sandy landscapes?
There are countries in the world, where the boundaries between art disciplines are not as sharply drawn as they are here. The Holland Festival, under the new leadership of Ruth MacKenzie, is catching us up. She is bringing events here where the boundaries between visual art, performance, video, film and performing arts can no longer be drawn. Events that generate meaning in ways that are quite new to us, such as The Encounter, last week, and Gardens Speak, later this week.
Maarten Baanders saw an opera that remained an island. An omnivore was Athanasius Kircher (1602 - 1680). No phenomenon in the universe could escape his urge to investigate. A universal scholar he was, but also a fantasist. Hence, he did not count in science. But for a grotesque opera, you can hardly imagine a more attractive protagonist. Louis...
The Encounter, a large-scale solo performance by British multi-talent Simon McBurney, had its Dutch premiere at the Holland Festival on Thursday. The Encounter combines the dramatic power of a Hollywood blockbuster with the polished simplicity of 20th-century, stripped-down, edited - call it Brechtian - theatre.
It promises to be a beautiful portrait, the film director John Albert Jansen is making about poet Remco Campert. Poetry International (from 7 to 11 June in Rotterdam) is already screening a preview. 'I find it moving to see that there is still a certain shyness in Remco, as if the little boy is still hidden under the surface. That comes across very nicely.'
From scene 1, 'Sketches/Notebook' by Meg Stuart and her group Damaged Goods engulfs the audience in a plethora of experiences. Bending over and making quick spins. Swinging a lamp and putting some fellow performers in a circle of light. Making figures with your hands. Laying stones on the floor and walking intently around them. Choosing from richly stocked clothes racks to make a colourful, bizarre creation of yourself. Put up a wall around yourself and then watch what the other does with it: imitate, move, break down, dissolve in space. Playing with beams of light and rope. Running around. Jumping in place. Rattling wildly on and drum kit. Lingering musical motifs.
From choreographer Meg Stuart has shown work at the Holland Festival before: 'Alibi' (2002) and 'Forgeries, Love and Other Matters' (2004). This year, 'Sketches/Notebook' surprises, being more playful and lighter than her previous work.
On Saturday 4 June 2016, I attended the royal opening of the Holland Festival and was able to attend no review write about, because I was sitting in the front row of the Amsterdam Stadsschouwburg. As the stage was elevated, I was looking against a black wall, above which only the front actors were visible. The back and lower half of the stage were completely eluding me.
Me wrote that on, and the Holland Festival generously offered me the opportunity to go and see the performance again, from a better seat. At the same time, the organisers told me that the first three rows of the Stadsschouwburg would be compensated at this performance. So I went to Amsterdam one more time, on Monday 6 June.
Before the performance, while not eating a blackened hamburger in theatre restaurant Stanislavski, I heard from the neat people at the little table next to me that the front seats were offered at a sharply reduced rate, and that people like them who had already bought tickets had the choice of thus getting a partial refund or going on the waiting list for a seat with better sightlines. Whether they eventually managed to get one of the spots with better visibility, I don't know. The performance
Wunderbaum. Among lovers of fresh and young theatre, this collective of creators stirred something up at the beginning of this century. They were born and bred under the wings of Johan Simons, where they formed the youth team of his legendary theatre group Hollandia. And because back then, every young maker really had to do something with the world, JongHollandia, later Wunderbaum, wanted the same. But because they lived in the post-ideological era and saw every day how the ideals of their teachers, parents and mentors came to nothing, it mainly became a club of doubters. And they were very good at that.
So you can get too close to a work of art. I don't even know if it really applies to paintings, that toxic fumes can rise from them, as some claim, but it certainly applies to theatre art. During the opening of the Holland Festival 2016, I was sitting in the front row of the Amsterdam Stadsschouwburg. Normally already not the best place for those who want to keep a bit of an overview of what is happening on stage. For the occasion of 'Die Stunde da wir nichts voneinander wussten', the stage had also been raised by half a metre, which meant I spent about four-fifths of the time watching actors' heads bounce over a light rail.
For Theatre of the World, his fifth full-length opera, Louis Andriessen (1939) drew inspiration from the Jesuit scholar Athanasius Kircher (1601-1680). He was the last Renaissance man, someone who could do everything and knew everything. Kircher wrote books full of the most diverse subjects, from the meaning of hieroglyphics to vulcanology and musical instruments. He even designed a cat piano, based on the idea that each cat screams at a different pitch when you tap its tail. After his death, Kircher fell into disrepute as a charlatan.
However, unusable for science, he forms gefundenes Fressen for a composer like Andriessen, who likes to explore the boundaries between reality and fiction. His opera Writing to Vermeer (1999) is based on fictional letters to the Delft painter; Rosa, a Horse Drama (1994) is about the murder of a composer, allegedly part of a conspiracy against music.
The garish signs KEUKENHOF keep on whizzing past café Foolish Business, on a very sticky Tuesday morning. Hordes of tourists throng behind them, ready to spend money on picturesque pictures and unique experiences. My interest today is in the opposite, the desolate 19the century colonies in Drenthe, then called 'Dutch Siberia'. To me, Drenthe is known as ' a cyclist's paradise' but writer Suzanna Jansen wrote the 2008 bestseller The Pauper's Paradise about, in which she meticulously traced her family's history back five generations.
She is wearing a summery blue dress and is in transit to the 'crime scene' of our conversation, Veenhuizen, to drive past her 'favourite places' with RTV Drenthe. This is a tad ironic, since she knows Drenthe mainly through her ancestors, who lived and died under miserable conditions in the colonies.
15 June 2016 goes there in Veenhuizen theatre show The Pauper's Paradise premiered in the courtyard of the Gevangenis Museum, about 'one of the most dramatic hidden histories in the Netherlands'.
As many as 1 million Dutch Descend from Veenhuizen customers[hints]From the registers reveals that Ruud Lubbers, Geert Mak and Alexander Pechtold, Thea Beckmann, Anton Pieck and Bert Haanstra, among others, are related to paupers from the 19th-century poor colonies[/hints].
The Kröller-Müller Museum does not immediately associate you with classical music. Yet on Sunday afternoon, 29 May, I attended a concert at this institution located in the Veluwe forests. It was organised by the Helene Kröller-Müller Fund in association with 401 Dutch operas. This organisation aims to bring forgotten and never-performed opera' from the Netherlands and Flanders (back) into the spotlight. On this occasion, arias and duets were performed from the period when Helene Kröller-Müller (1869-1939) built the art collection of the museum named after her.
Dutch music of the late nineteenth, early twentieth century seems hot again.
Two major exhibitions honour the work of Constant Nieuwenhuys. Gemeentemuseum Den Haag shows his architectural utopia New Babylon, the Cobra Museum in Amstelveen outlines Constant's development from Cobra to this. We tour the Hague exhibition and explore the legacy of Constant's legendary project. Including some 3d photos.
In elke toneelvoorstelling, film, of concert zit wel een scène die je bijzonder raakt. In de documentaire Ik wil gelukkig zijn (2016) over het leven van actrice en cabaretière Fien de La Mar (1898-1965) zit ook zo’n moment, een muziekscène van onvergetelijke ontroering.
Impeachment proceedings, social unrest, corruption: recent reports on Brazil paint a not very optimistic picture. Yet this very country is the focus of the major annual large sculpture exhibition in The Hague. The reason: the Olympic Games, later this year in Rio. But does the suspension of President Roussef make Brazil a risky cooperation partner for an exhibition?
On Monday 23 and Tuesday 24 May, the VSCD met, and the Congres Podiumkunsten (@congresPK) was going on at the Nijmegen Concert Hall De Vereeniging. I went to check it out and discovered some new things.
Things have changed in Dutch theatre since the beginning of this century. Somewhere around the year 2000, I was a guest at a meeting of the Association of Theatre and Concert Hall Directors, and it was a bizarre experience. I found myself among a gathering that could best be described as a gentlemen's club, where the number of upstanding municipal officials exceeded the number of artistically inspired theatre lovers.
Now, 16 years later,
The honour of opening Utrecht's dance and performance festival SPRING fell this year to choreographer Nicole Beutler[hints]Nicole Beutler (Munich, 1969) is a choreographer and theatre maker. After studying Fine Arts at the Art Academy (Münster and Munich), she came to Amsterdam for the AHK's School for New Dance Development, where she graduated in 1997. Her work is at the interface of visual art, theatre and dance(Source)[/hints]. The performance 6: The Square exhibits an inimitable fascination with dancing and thinking in squares. Squaredance, a very old folk dance tradition in couples, especially popular in America, and the futuristic functionality of Bauhaus are linked in this choreography to thoughts about creating order and pigeonholing. How exactly
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